About five people have said that they think that Mr. MacBeth and I are
talking about the same thing but in different ways. I don't think so.

The maggio system uses the syllables to:

"create the correct air streams for different registers."

The next paragraph of the book contains:

"After a while you should be able to hear the syllable distinctly in
the sound."

This is not at all what I'm trying to do. I don't want my listeners
to hear any change in my sound from one note to the next. I am far from
where I want to be on this subject, as a player, but I know that consistency
in the oral cavity is part of the answer.

I did mention in my first post on this subject that I've found that
I get my best tone when the tongue is high enough to enhance the resonance.
I did not say that this height changes from one note or register to the
next. For notes below low C, I use the same tongue arch as I do for the
next two C's above it.

And I certainly do not use the tongue arch to change pitches. For the
way I play and the direction I'm moving this is the responsibility of the
lips, not the tongue nor the air velocity.

I'm not saying that the Maggio System is wrong or no good. Quite the
contrary. That system has been very successfull for a lot of people.
It's just not consistent with my needs as a player. I encourage everyone
on the list to at least learn about the Maggio System. Mr. MacBeth is on
the list and I think it's a fantastic opportunity for many people to hear
what he has to say. I don't dissagree with Mr. MacBeth's teachings. My
only dissagrement was with his wording in his post.